by George Sax

Terence Rattigan’s 60-year-old drama, The Deep Blue Sea, might seem an unlikely source for a new movie about the destructive power of love, but another Terence, Terence Davies, is no ordinary filmmaker. He’s been exhibiting an elegist’s refining consideration of the play’s post-World War Two setting for some time. The era in which he grew up, the 1950s, has a hold on Davies’s imagination, as he’s shown in such self-referential movies as The Long Day Closes.

by M. Faust

What have we here but another visit from my old nemesis, the film that cannot be discussed without giving away more than a conscientious reviewer should. For those of you who, like me, prefer to know as little as possible about a movie before seeing it, I will try to provide a minimal synopsis, followed by a paragraph you should skip.